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Pandæmonium (or Pandemonium in some versions of English) is the capital of Hell in John Milton's epic poem Paradise Lost. [ 1 ] [ 2 ] The name stems from the Greek pan (παν), meaning 'all' or 'every', and daimónion (δαιμόνιον), a diminutive form meaning 'little spirit', 'little angel', or, as Christians interpreted it, 'little ...
Milton's Satan, portrayed with both grandeur and tragic ambition, is one of the most complex and debated characters in literary history, particularly for his perceived heroism by some readers. The poem's portrayal of Adam and Eve emphasizes their humanity, exploring their innocence before the Fall of Man and their subsequent awareness of sin.
Blake emphasized the rebellious, satanic elements of the epic; the repressive character Urizen in the Four Zoas is a tyrannical version of Milton's God. In addition to his famous quip in The Marriage of Heaven and Hell about Milton belonging to the devil's party, Blake wrote Milton: a Poem which has Milton, like Satan, rejecting a life in Heaven.
When Miltonic verse became popular, Samuel Johnson mocked Milton for inspiring bad blank verse, but he recognized that Milton's verse style was very influential. [1] Poets such as Alexander Pope , whose final, incomplete work was intended to be written in the form, [ 2 ] and John Keats , who complained that he relied too heavily on Milton, [ 3 ...
Dante, poised between the mountain of purgatory and the city of Florence, a detail of a painting by Domenico di Michelino, Florence 1465.. The Divine Comedy by Dante Alighieri is a long allegorical poem in three parts (or canticas): the Inferno (), Purgatorio (), and Paradiso (), and 100 cantos, with the Inferno having 34, Purgatorio having 33, and Paradiso having 33 cantos.
Jane Chance likens Shelob to the guardian of the gateway to Hell in John Milton's Paradise Lost. [8] George H. Thomson similarly compares Shelob to Milton's Sin and Death, noting that they "serve neither God nor Satan but look solely to their own interests", as Shelob does; she is "the Death and Chaos that would overcome all".
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Michael Bryson, in The Atheist Milton, mentions the influence of A Preface to Paradise Lost on views of Milton's theological outlook, by saying that "it has been primarily since the 1942 publication of C.S. Lewis's A Preface to Paradise Lost that the image of Milton as the great defender of a somehow Augustinian orthodoxy has taken hold."